GLORIFIED MAGNIFIED

Definately, at least to me, an improvement over their debut, this was finally the EARTH BAND that found their sound. No more of that New Orleans-type of stuff here, this is definately a more progressive album. Having been familiar with "Solar Fire" for much longer than I had this one, I am amazed how several of the songs on this album reminds me of "Solar Fire". For example, "Meat", which features Chris Slade doing the same kind of drumming as he would later do on "Earth, the Circle Part 2". "Look Around", "Our Friend George" and "I'm Gonna Have You All" all sound like they could fit nicely on "Solar Fire". I really like some of those heavy guitar solo found on "Look Around". The band also did a couple more "down to earth" numbers here. One was "Down Home", with a rather down home feel, almost like The BAND. The other being "It's All Over Now, Baby Blue", a Bob DYLAN song which was pretty much what you expect on an EARTH BAND album up until 1975.

Also you get a re-recording of a MANFRED MANN Chapter III song, "One Way Glass" (originally on their 1969 debut), but of course this version has all the horns removed and done in the EARTH BAND fashion (including a Moog solo at the end). I own the American LP which has a black cover with the EARTH BAND logo (this was the first EARTH BAND album to feature that logo), rather than white like you expect on the British version on the Philips label. This is probably my second favorite EARTH BAND album outside of "Solar Fire".

This is my first album with manfred mann. The whole impression was good, but the albut is more blues than prog. That is not a bad thing but the tracks witch define the future sound of manfred Mann is Wind and Glorified magnified. Not a bad album but neither one of the best of them. 3 stars.

One year before

Released in 1972, the same year as their first album, this the band's second release retains the original line up including vocalist Mick Rogers. The early trademark of a Dylan (or Springsteen) cover version is complemented by the first appearance of the band's trademark logo.

The opening "Meat" reminds us (in retrospect) that we shall have to wait a little longer for the band to reveal their true prog credentials, the song being a brash piece of blues rock in the style of bands such as Ten Years After. The basic rhythm is very pop orientated, the sort bands like Mud would become proud of. "Look around" retains much of the TYA feel, but is a slightly slower and more powerful piece with screaming synths and some fine guitar work.

"One way glass" introduces the softer side of the band, the lyrics telling a touching tale of isolation and withdrawal. The song suits Rogers voice well, complemented by a fine instrumental arrangement. There is no feature track on the album as such. At a shade over 5 minutes, "I'm gonna have you all" is the longest track. The song reverts to the upbeat blues rock of "Meat" with a similar catchy rhythm.

The second side of the album has six short songs. These range from the inconsequential, such as the Southern rock tinged "Down home", to the indicators to the future in "Wind" and the title track.

The cover of Dylan's "It's all over now baby blue" is rather at odds with the rest of the album, and is largely devoid of the transformation we have been led to expect. This acoustic rendition is pretty much faithful to the original.

In all, an enjoyable but largely undistinguished set which incorporates some pointers to the direction the band will take. Overall, the album has the feeling of being under-developed, and crying out for stronger production.

Glorified Magnified was, for my money, the ultimate pinnacle of the Earth Band's achievements. An extraordinary range of styles are in evidence and the band play with fluidity and a great deal more confidence than on their earlier eponymous debut. In truth the subsequent Messin' and Solar Fire albums were more overtly prog than Glorified Magnified, each boasting longer tracks than we find here but there are moments throughout when Rogers' and Mann's exchanges hint strongly of spacier things to come.

Meat kicks the album off superbly with a beat which wouldn't have been out of place on a Sweet hit single (where did Mick Tucker get the rhythm for Ballroom Blitz from anyway?). Duck calls and processed vocals abound as the band hit a groove with Rogers excelling on guitar. Manfred feeds us some of his extraordinary keyboards during the fade-out, leaving the listener hungry for more.

The second track, Take A Look Around, has a heavier feel and a slower rhythm. The high-point of the track starts at the two minute mark and builds into a glorious crescendo as Rogers breaks into a superb solo with Pattenden and Slade holding the foundations of the track together.

One Way Glass follows and it's a rather melancholically beautiful thing, played with restraint and some reverence...a very different treatment from the version on the first Chapter Three album. Mann plays another superbly melodic solo as the track fades out.

Another up-tempo number closes the first side. I'm Gonna Have You All is a blistering pop song featuring yet another trademark epic Mick Rogers solo and a wonderful jangling keyboard break at the track's conclusion. Bearing in mind that, at 5.19, this is the longest tune on the album, we can appreciate the quality of material that the band had at their disposal in 1972: there are just too many good songs here for any to be sacrificed. Sooner an eclectic mix of scintillating shorter songs that an overly-bloated 20-minute concept piece taking up half an album seems to have been the philosophy here.

The quality continues on side two. First up is a blues number with a broad grin on its face. Down Home features a great vocal performance from Mick Rogers. Manfred switches to acoustic piano to deliver a superbly slack solo (with pig grunt) which just adds to the fun. Cracking stuff indeed.

Our Friend George, and there's sarcasm in the title, is a bilious attack on the afore-mentioned George. Pinned together with a snaking riff and an air of real menace, this is a bitter personal attack. Hey George, I don't know who you are but Manfred doesn't think much of you!

Next we have another gentler, slow track. Ashes To The Wind is quite simply beautiful. Invoking feelings of both loss and optimistic recovery this 2.14 gem still manages to feature a typical Mick Rogers guitar solo or two. The fact that Mick hits a bum vocal note at the track's conclusion does not detract from its charm in the slightest. Quite the opposite, in fact.

Wind follows on with an equally slow tempo and an absolutely sensational duet on the keyboards. I've always had a very soft spot for Mann's style of playing and this seemingly throwaway track slots in very nicely indeed, thank you.

Of course at this stage of his career, Manfred included a Bob Dylan track at every opportunity and this reading of It's All Over Now, Baby Blue is, as usual, excellent. The most commercial track on the album, it was released in edited form as a single (the 7 version is included as a bonus track on the remastered CD).

The clincher though, and the track that perpetually cements the Earth Band high in my estimation, is the title track. Best Manfred Mann track ever? Glorified Magnified gets my vote hands down every time. Let's not pussyfoot around...it's the best prog track ever. Hell, let's have no half measures....it's the best TRACK ever. By anyone. There, I've said it! I love all manner of music from classical to dub to electronica to jazz to glam to hardcore punk to Van Der Graaf Generator. However, this tune takes not just the biscuit but the whole damned packet. And the teapot as well. And whatever else is in the pantry. A gentle cymbal opening takes the best part of a minute to kick into a groove that's so massive that it rudely pushes whatever else is in your head to one side for the duration of the track. Then the body begins to nod, twitch and sway involuntarily as this truly glorious piece takes hold. An insidious riff kicks in at the halfway marker followed a drum-dominated passage which explodes with as much energy as Chris Slade can expend before a choir bursts into the mix and Rogers sprays divine guitar notes around as the whole magnificent thing builds to an immense crescendo, leaving the listener dazed and ecstatic. If you've got the remastered CD, leave the bonus tracks off your playlist. This is where the album finishes and you'll need a minute or two to gather your thoughts.

Whatever I may think of the style of Manfred Mann's Earth Bands later albums, this particular disc has a very special place in my heart. Of the first six Earth Band LPs (and they're the only ones you need), this one stands proudly at the top of the pile, not just because of the magnificent title track but because there's an air of effortless quality sprinkled liberally over its many styles. Superb.

This album starts as a deeply blues oriented one.

Noisy and pointless with "Meat", heavy bluesy with "Look Around" whose second part sounds more inspired. Good guitar work and solid backing band during the instrumental part. But this album doesn't really kick off.

The straight forward rock "I'm Gonna You All" is not bad per se, but has little to offer. Vocals are average (as during the other songs) and thanks to its very good beat, this song stands out so far. Some improvisation for "Our Friend George", while the main theme remains in the heavy rock genre. Sub- par "Ten Years After" indeed (as mentioned Easy Livin').

There are hardly great songs featured on this album. It is a dull complaint (hopefully short) almost all the way through. One gets relieved while listening to "It's All Over Now, Baby". Well, almost over since there is still the title track to apprehend.

This one is probably the best one of this record (which is not difficult). More organ oriented than the rest, this instrumental track features a good drumming sequence and a powerful bass play. A good number after all. But this album doesn't hold sufficient to rate it higher than two stars.

Dear old Manfred will do much better later on.

My first Earth Band album - just released when I bought it. It's also both my favorite EB LP as well as their best, IMO. Easily more variety here on Glorified Magnified than on any other release of theirs.

The band's ace in the hole? Guitarist Mick Rogers, no question. It's not his technique as much as his choice of notes - totally unlike any guitarist I've ever heard. Intervals cherry-picked from (usually) minor scales that are never the obvious selections. And often the solos are so strong that they could often be mistaked as formally composed counter melodies. I'm probably making this more clinical than necessary, but for those who appreciate distinctive prog melody messengers via a lead guitar should do themselves a favor and listen to Rogers' work here. The whole band cooks, too, which certainly doesn't hurt!

Best tune on this album is no doubt the closing title track - a remarkable display of dynamics starting from the gentle trickle of Chris Slade's ride cymbal slowly rising to the final whoosh of a full choir and church organ chord. And when the whole band kicks in about a minute or two in, we get nothing less than one of prog rock greatest heavy riffs ever! No kidding! And all in under 5 minutes. My heart's racing just thinking about it.

OK, I'm simmered down now. But give Glorified Magnified a chance if you can. An easy 4 stars from me.

The Earth Band's second album was also their only studio release not to chart anywhere in the world, unless you count some of the hodgepodge of records released after the band's de-facto demise in 1987. I suppose the main reason was poor promotion and not enough touring in support of the record, but truth be told it's not really a very good album either so maybe the sales figures are at least partially a reflection of that.

I'm not sure what the band story was at the time of these recording sessions but all indications are they were simply back at Maximum Studios to crank out a follow-up to their self-titled debut that was garnering some minor attention in the U.S. thanks to a surprising amount of FM radio play and a minor hit with the Randy Newman cover "Living Without You". Go figure.

I'm not sure if the band were rushed back into the studio too soon, or if they were not kept there long enough due to touring or other commitments. Either way this feels like a disjointed collection of decent but unexceptional tunes and not at all like a cohesive, well thought-out, career-building release.

The sound is heavier than on their first record, although as time would tell Manfred Mann and especially guitarist Mick Rogers were never ones to shy away from a good heavy riff and supporting organ forays. And the band actually seems to move further away from the progressive rock / experimentation shown a couple times on their first album and quite a bit on the upcoming 'Solar Fire', 'Nightingales & Bombers' and even the underrated 'Watch'. The closest they come is on the closing title track, an orgy of organ (that doesn't sound quite right) along with guitar in an instrumental that recalls the Manfred Mann original "Tribute" from their first album.

At least there are some recognizable and mildly interesting styles interspersed throughout including a bit of toned-down glam rock ("I'm Gonna Have You All"); American country ("Down Home", "Ashes to the Wind"); some sort of weird nuevo-jazz ("Wind"); and even a fairly decent preview of the sort of sappy arena-rock ballads Bret Michael's Poison would make a career from a couple decades later with "One Way Glass".

There were two singles issued from this release. The first was the unconvincing vegetarian anthem "Meat" and the second was (yet another) version of the Bob Dylan classic "It's All Over Now, Baby Blue", a song Dylan first recorded the same day in 1965 that he recorded the iconic version of his "Mr. Tambourine Man". Neither single charted and to the best of my knowledge neither received much radio attention either.

I enjoyed giving this very old vinyl a couple spins for the first time in many years recently. I'm pretty sure I bought my copy from a used record store in the late seventies after discovering the band via their later more commercial work like 'Angel Station' and 'The Roaring Silence'. As I recall I didn't think much of this one back then, and I still don't. That's not to say it's a poor album. The music is decent and there are thousands of bands who would have been thrilled to present something like 'Glorified Magnified'. But the ostentatious title and Manfred Mann's reputation both demand more, and this time at least the band failed to deliver. Things would get better, but for anyone making the trek down Manfred Mann lane I wouldn't pull over for this particular roadside attraction. Two stars for an underachieving album from a very good band.

peace

This is first and foremost a rock album rocking harder or softer. The band are in their formative years but showing potential individually to form a strong and distinctive results. I like compositional strengths with guitar and keyboards standing out. Keyboard in particular shows some hints of progressive rock while bass and drums more or less sticks to staightforward rock. Vocals are competent, too. "Look around" is a semi-prog almost instrumental number and despite its short length, "Our friend George" has a decent progressive chord twist with quite good Hammond. The title track has organ/Moog willing to tackle current progressive rock but it's marred by unsuitable rock'n'roll drumming that has little fantasy. "I'm gonna have you all" has nice organ touch that remind me of The Who. Last traces of bluesy sound can be found in "Down home".

Quite a good album (better ones are to come) but hardly essential.

Glorified Magnified is the 2nd album of the band and it shows. It shows a band trying to find the balance between the heavier guitars and the lead man(n)'s keys. The balance between showing strong musicianship and writing (or covering) good songs. By no means is it a bad album. Actually it grows on the listener after a couple of listens. But it never gets off the earth (pun unintended!), never really excites.

And let's get one thing straight. It is not a prog album, although it has its proggier moments. It could be better classified under a term such as 70s heavy rock or something like that. So it has to be reviewed for what it is and not what it isn't. Having said that, I think the best parts of the album are still the ones that are not guitar dominated. "One Way Glass" on the mellower side of things and the title track on the more adventurous side. From the more typical 70s guitar driven rockers I would have to go with "I'm Gonna Have you All" (which also has a strong keyboard section at the end). Actually I have the impression that this is the only one that would fit on the later band releases.

As for the individual players, the first thing to notice is that Manfred, while not absent, is not really the centre of it all. He shines only in certain moments. To be sure, throughout the band's career he was never dominant like, say, Keith Emerson, but still you could tell who is the leader. On this album this is not the case. Normally this would not be a bad thing, but the space he leaves for Mick Rogers' guitar, while not exactly poorly covered, leaves the listener wanting. Rogers playing is adequate and he takes a few longer solos here and there, like on "Look Around". His playing looks towards Alvin Lee or a bit of Duane Allman, but he surely lacks the imagination of the former and the technical abilities of the latter. Also lacks the sophistication of, say, Peter Green. In general, it lacks! The rythm section, while not spectacular, is solid and especially Chris Slade's playing is very enjoyable.

All in all, GM is a good album on its own, but doesn't even hint towards the direction the band would take. It has its moments, but it is still very unlikely to become your favourite...